Katrina Nzegwu

Katrina Nzegwu featured image

About

Katrina Nzegwu (b. 1999, London) is a maker, curator, writer and facilitator, who graduated from BA Fine Art & History of Art, at Goldsmiths, University of London. Katrina works as Artist Researcher for Hannah Barry Gallery and its sister not-for-profit space Bold Tendencies, alongside hosting a monthly interview radio show on RTM FM, entitled MP3 4 Bois. Nzegwu has written for platforms including 3rd World zine, Carrion Press, and Studio West Gallery, and published her first “poetry” collection, Mixtape, with Em-Dash Press in January. 

Making work that skates the line between the political and the absurd, Nzegwu galvanises dark humour, often using referential or archival material such as literature, music and contemporary meme formats to explore personal, and collective memory and experience. The core of Nzegwu’s practice is the exploration of self via the personal archive – the translation of her particular position in the world, into works that pay heed to the diaristic. Currently preoccupied by notions of semi-fictional mythology, intergenerational storytelling, and embodied knowledge, her works incorporate self-authored texts, rendered in various configurations. 

Often working with/through collage and textiles as methodologies, extant symbols and texts are instrumental in Nzegwu’s production of auto-fictive works: the use of real characters and speculative subplots, deployed in service of a search for “self.” The capacities of the sonic are also important to Nzegwu’s practice - the emotive possibilities of aural modulation to shape psychological perception, and foster connection. 

Statement

This project is at once all, and not at all, about my Grandmother.

It had always seemed ridiculous to me that Harry Potter hinged his entire existential impetus on the death of a family member, until I lost my grandmother in February 2022. The woman with whom I share a name, Olufummilayo; to whom I owe so much of my personality, my morals, my flat feet - who defined my childhood summers and winters when she would come over and transform hazy long holidays into joyful memories. Returning to Nigeria for the funeral (for the second time in 22 years, and 13 years since the last visit) I was profoundly affected by a sense of knowing and not knowing - of an embodied reckoning that betrayed the literal unfamiliarity of my surroundings. It is a strange thing to "go home" to a place that is absolutely not yours; to feel so strongly connected to a person whose energy is apropos of an ultimately foreign land.

I say this project is, yet is not about Grace - it is about a process of uncovering, tied to her as a pathway. Learning more about my Yoruba grandmother, I learnt more about myself; about the particular beauty of recognising one's ontological essence, whilst belonging to multiple heritages. In the act it became clear that no story is unconnected - no person's journey is uninflected by the paths trodden by others, past and present. The cyclical nature of history; the timeless elemental repetition of feminine experience - it is all at once about no-one, and everyone.

I Am My Ancestor’s Wildest Dreams is about this inextricability of human stories, bringing together the core elements of my practice. A trio of jacquard weavings speak to the age-old tradition of female communion over the production of textiles. Weaving is more than the sum of warp and weft - it is a method of recounting, reliving and reframing. Colour, structure and fibre function as a vocabulary in their own right, creating rhythms that nod to deeper meanings. The accompanying sound work incorporates field recordings, music and binaural spoken word. Exploring notions of intersectional feminism, the work occupies various voices, including the Greek goddess Circe, the Yoruba Orisha Yemaya, Eve of the Judeo-Christian tradition, alongside my own, and the imagined projections of others. Literally weaving together words and affective associations - the interlocking of yarns, both material and narrative - the work is an appeal to the universal vagaries of femininity. My own experience, through connection with a recognisable visual language and symbolic traditions, becomes an allegory for the perennially human.

A Plaited Link

Medium: Lino print on Fabriano

Size: 20 x 30 cm

Circe, Yemaya, Eve, my Sisters & Me

My Grandmother's Hands

Medium: Risograph on Omnia Natural

Size: 29.7 x 42 cm

Heartlines

Medium: Dye sublimation on volando voile

Size: 141 x 66 cm

Kitchen Witch

Medium: Screen print on Omnia Natural

Size: 42x 59.4 cm

The Race Card

Medium: Screen print on Omnia White; letterpress; foil emboss; digital print on Offenbach paper; hand-woven Japanese paper; waxed-thread

Size: Various dimensions

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